Something different

So I asked if people would like to see in progress images of each new page. Most (if a very small pool, mind...) said they liked the surprise of each new page all at once. So this is just a temporary MO while I'm stuck with the slow down of reduced hand-eye coordination while my Cintiq is being repaired - it's a $3000 piece of premium space tech from the future, I expect the legs to not snap off after only unfolding them half a dozen time in two years! You can't put "Pro" in the name and then build it out of melted down G.I. Joes!

... I'm sorry. I miss my favourite toy : (
But yes. I thought I'd try and make up for the slow down by engaging with my Patrons more. (You'll still only be charged for finished pages.)
So let me go over my process -
Attached is an example of the script I make for each page as well as a thumbnail.
I make both the script and the thumbnail at the same time.

And assuming you're looking at this on a 1080 screen, you're seeing it at the same size I draw it. This is actually a very common thing for comics, though I first saw it done by Fiona Staples in the back of volume 1 of Saga.
Artists will often plan out their pages by first drawing them very small like this. It helps to visualise how the content of each page is supposed to fit together into a composition greater than the sum of its parts.
It's something I still have trouble with actually. This page for example; The second panel looks like its contents is nowhere near important enough to get a panel that large. I could have squeezed those two thugs into a smaller panel and given Hangman and Robber #1 more room in which to be dramatically framed.
I could go back and fix it but... ahh, you know. Sometimes it's not worth it. Remembering the lesson and not making the same mistake again is what's important to me. Now watch as I make a same mistake on page 20!

It can be hard to imagine exactly how the panels will fit together just in your head, so in the script I start with a rough description of the general events of that page.
From Japanese comics especially I learned that there is an art to the page-turn. It's often a very meaningful decision where the scene cuts off and continues on the next page. If you look back at page 13, I originally had Spider-Woman being snagged at the end of page 12, but I decided it was a dramatic moment that I wanted to hit the reader with on its own page, so I went back in the thumbnail stage and re-planned her tussle with the crims to fill out page 12 and push the lassoing to the next page.

So once I have an idea of how the story is divided up into page-sized chunks, I write the script for each page.
Once all the page scripts are written, I go through the thumbnails again and pay close attention to how the dialogue balloons are supposed to fit as well as how well I'll be able to apply spacial psychology to in the images.
"Oh, this image would be more effective in a more vertically shaped panel"
"If I could let this panel take up the whole width of the page, it would lead the reader's eye better..."
That sort of thing. I always end up redrawing the most of the thumbnails, and once that's done I update the scripts to match.

I'd liked to say once it's locked in, not much changes. But I'll be honest... since I started this project I've added three or four pages on the spot because I saw an opportunity.
It's extra tricky to make it all stick together with a story like this, because a big storytelling motive is to get the sweetest angles. By the standards of most comic storytelling, my storyboarding drags on a bit, but when the important thing is the cheesecake, dragging on is kind of the point.

I think most artists draw their pages in passes. Usually two or three, each using the previous as a skeleton and adding further detail and refinement.
My process isn't as rigid and refined yet. I kind of just go for it until I get something I like, then I'll lasso and rotate and resize and transform it into place, then hack at it with brush and eraser so it looks like it was drawn in place from the beginning.
Yes, fun fact, I'm a fraaaaaauuuuud!!

That last part is what's taking so long with this temp drawing tablet. I've been relying on the stroke smoothing feature a lot more. It's not a fun to be honest. A little more mechanical and not as much like I'm thinking out loud with my drawing hand : (

God. What's it going to be like trying to colour like this?!